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Creating a double-exposure effect

From: Photoshop CS5 One-on-One: Mastery

Video: Creating a double-exposure effect

I have saved my progress as Very bad double exposure.psd, for obvious reasons I think. And that file is found inside the 29_smart_objects folder. The good news is that we have assigned a relationship between our two Camera Raw Smart Objects using the screen mode. The bad news is, thus far, it's a very unfortunate relationship. Now that's going to change over the course of this exercise as we apply the Free Transform command, which will be necessarily a nondestructive modification, because we're working with smart objects. Now if you are working along with me, you can go ahead and close this other image here, Brunette model-2 as Smart Object-1, whatever the heck it is called.

Creating a double-exposure effect

I have saved my progress as Very bad double exposure.psd, for obvious reasons I think. And that file is found inside the 29_smart_objects folder. The good news is that we have assigned a relationship between our two Camera Raw Smart Objects using the screen mode. The bad news is, thus far, it's a very unfortunate relationship. Now that's going to change over the course of this exercise as we apply the Free Transform command, which will be necessarily a nondestructive modification, because we're working with smart objects. Now if you are working along with me, you can go ahead and close this other image here, Brunette model-2 as Smart Object-1, whatever the heck it is called.

We don't need it anymore, because we already have it open in the other compositions. So just go ahead and press Ctrl+W or Command+W on a Mac. And then click on the No button or on the Mac, the Don't Save button, in order to not save that file. All right, so here we are back in another composition. I am going to press Ctrl+T or Command+T on the Mac, in order to enter the Free Transform, I'll zoom out a little bit, so I can see what I am doing. Now the first obvious move is to go ahead and right-click inside of this image and then choose Flip Horizontal, but if you do that, watch what happens.

Even though that does put around on the other side of a composition, which is exactly what we want. It means that our width-value turns negative as her height-value remains positive, which means, if I try to lock these two into agreement with each other, so that we apply a proportional scaling. It means in this case it goes there and flips her upside down, because it's changed the height value from positive to negative a hundred. So what I going to do is I am just going to change things back to positive; a hundred for a moment. And then why don't we just go ahead and Shift+Drag a corner handle like so, in order to get a rough sense of how big this image wants to be.

And I am keeping the shift key down at all times, by the way, as I am applying my transformations. And what I've found by sort of messing around here is that a scale-value sort of in it's own between 72 and 73% is going to work out pretty well. And I am in fact, going to go ahead and change just in case you want to follow exactly along with me. I am going to change my Width value to 73%, because I have got the values locked into agreement with each other that changes a Height-value to 73% as well. And now I am going to go ahead and more or less center this image, I'll nudge it up a little bit, may be over to the right a little bit using my arrow keys by the way.

Zoom in, so I can see the composition a little more closely. Then I'll right-click inside of the image window and choose Flip Horizontal. So the idea is you're better off scaling, if you are applying a proportional scaling. You are better off scaling first and then flipping second. All right, now that I am done, I'll go ahead and press the Enter key or the Return key on the Mac. And bear in mind, because we are working with a Smart Object, and I don't mean to hit you over the head with a mallet over the stuff. But I do want you to remember, because we are working with a Smart Object, you can always go back in the Free Transform and make some additional modifications without harming the core image, because you are not rewriting pixels.

All right, the next thing that we want to do is I think go ahead and switch off the Blend mode, because even though we do have a double exposure shot, that's what screen does. It is very much analogous to the traditional process of exposing film twice, that does not mean it is necessarily going to produce a great effect, and what we have done is combined her with her own hair. So she has a lot of light streaks going on in her hair and as a result we have some streaks of hair going on inside of her face. Now if we want to give her a kind of strange mammalian sort of appearance, I guess that's a good thing.

I am not really sure that suits her needs in this case, however. So I am going to try one or the other blend modes here. I am going to try switching over to lightening, just to see what happens? And actually that produces a halfway decent effect, and we still have some weird light hairs going on over on the side of the right model's face, and underneath the jaw line of the left model's face, and even if you look closely we have a little bit of hair inside of the right model's nose, which probably is not something we want. I believe we have some hair wandering around in her irises as well. We may able to dampen that a little bit if we switch from Lighten, which as you may recall; keeps lighter colors on the channel by channel basis.

So each channel is different. If you want a composite effect, then try out Lighter Color instead. And this looks pretty identical to me. I am not seeing anything changed dramatically. What I think we are going to need is a layer mask and we are going to need a layer mask on both of these layers. So I am going click on the layer mask icon here for the model-2 layer. And then I will go and press the G key which didn't work actually, because lighter color is still highlighted for me on the PC. So I will press the Escape key first and then press the G key in order to switch over to the Gradient tool.

Now my foreground and background colors are already black and white. Make sure that you have all of your default settings at work up here in the options bar. So we are creating a Linear Gradient. I wanted to go from Foreground to Background, so the very first option right there. And then we also want the mode to be Normal, Opacity to be 100%, Reverse off, Dither and Transparency can be on. That's fine! And then go ahead and drag from left inside right about here inside the left model's face. And I am going to Shift+Drag over to the right until I start getting into the zone where the right model's face begins.

So I don't want to drag into her eye, for example. I want to stay outside of her face, just, like so. And now we'll go ahead and get rid of the hairs that were on a left model's jaw-line. Then we need to do something similar for model-1. So click on the model-1 layer, add a layer mask by clicking on this icon at the bottom of Layers panel, and then I will drag from right about here this time, again, inside of the model's cheek; the opposing model's cheek. Now I will go ahead and Shift+Drag until I am almost inside of the left model's face, but not quiet, and then I will go ahead and release, like so.

Now we have a problem with the shoulders. We also have a problem incidentally, as you will notice, We were carving down to the transparency in the background. What we need to do is, for that second problem; the transparency problem, we need to create a new background layer. And that background color needs to be filled with a neutral color for the active blend mode, which in our case is black. Because were working with a lightening blend mode, we need black in the background. So I am going to create a new layer by clicking on this page icon at the bottom of the Layers panel. I don't care what it's called. I don't care where it's located. I will go out to layer menu, choose New and choose Background from layer, so it becomes her background layer.

Now because it's filled with white, we are seeing it. In other words, it's way brighter than anything on this model-2 layer. So the model-2 layer is completely going away and we just see the white everywhere where the model-1 layer is invisible. What we need to do then is click on the background layer to make it active. Black is my foreground colors, I can see down here at the bottom of the toolbox, so I will press Alt+Backspace or Option+Delete to fill that background with black. And because model-2 is set to brightening mode their, lighter color in our case; she shows up once again.

All right, so we are still left with a few problems, we need to finesse the masks a little bit, not much, except down here in the shoulders, where we do need to finesse the mask quite a bit. Notice if I turn off the model-1 layer, model-2 has got quite a bit of shoulder that's showing up here, as soon as I turn model-1 back on, her shoulder gets kind of stunted and it is like they are growing into each other. Once again, that's the effect I want for this composition. So I am going to go ahead and bring that shoulder back in the next exercise.

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This video is part of

Image for Photoshop CS5 One-on-One: Mastery
Photoshop CS5 One-on-One: Mastery

192 video lessons · 43809 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 40m 45s
    1. Welcome
      2m 45s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 5s
  2. 1h 11m
    1. Your creative range continues to expand
      1m 46s
    2. The Avatar project so far
      2m 38s
    3. Painting on a photograph
      7m 50s
    4. Adding texture and depth
      6m 14s
    5. Simulating chalky white paint
      7m 23s
    6. Masking and placing an image
      7m 20s
    7. Upsampling and Lens Blur
      5m 9s
    8. Blending blurry elements
      3m 48s
    9. Making a Smart Object
      6m 46s
    10. Placing an image as a Smart Object
      3m 22s
    11. Blending away a background
      5m 56s
    12. Applying Smart Filters
      4m 34s
    13. Creating a glow with Lens Flare
      3m 45s
    14. Blending and masking a glow
      5m 3s
  3. 1h 26m
    1. Using the image to select itself
      1m 53s
    2. Introducing masking
      6m 32s
    3. Making an alpha channel
      6m 54s
    4. Using the Calculations command
      6m 48s
    5. Add, Subtract, Offset, and Scale
      5m 54s
    6. Prepping an image with the Dodge tool
      6m 55s
    7. Fixing mistakes before they get too big
      6m 32s
    8. Painting in the Overlay mode
      5m 51s
    9. Exaggerating and selecting flesh tones
      7m 39s
    10. Smudge, Median, and the Blur tool
      6m 59s
    11. Masking low-contrast details
      6m 7s
    12. Creating a flesh-and-clothing mask
      5m 45s
    13. Masking and compositing the foreground
      5m 27s
    14. Finessing the final composition
      7m 39s
  4. 2h 24m
    1. Connecting the dots
      1m 40s
    2. The Pen tool and the Paths panel
      6m 32s
    3. Drawing a straight-sided outline
      6m 25s
    4. Editing a path outline
      6m 36s
    5. Adding and editing smooth points
      5m 35s
    6. Creating vector masks with the shape tools
      4m 59s
    7. Building a complex outline from shapes
      4m 26s
    8. Subtracting and transforming shapes
      6m 45s
    9. Cloning, flipping, and combining shapes
      8m 58s
    10. Roughing in non-symmetrical paths
      7m 41s
    11. Finessing a complex outline
      9m 15s
    12. Masking a layer effect
      8m 26s
    13. Isolating an image element
      6m 8s
    14. Smooth points and control handles
      9m 3s
    15. Stretching curved segments
      7m 49s
    16. Using the Rubber Band option
      9m 33s
    17. Drawing smooth points with the Pen tool
      6m 59s
    18. Shading an isolated object
      3m 45s
    19. Drawing cusp points
      7m 14s
    20. Setting points in the pasteboard
      9m 57s
    21. Using the Convert Point tool
      6m 42s
  5. 2h 57m
    1. Everything you need to know about blending
      1m 45s
    2. Photoshop CS5's blend modes
      7m 21s
    3. Cycling between blend modes
      6m 15s
    4. Darken and Lighten and their derivatives
      6m 3s
    5. The blend mode shortcuts
      8m 6s
    6. The Multiply and Burn modes
      4m 28s
    7. The Screen and Dodge modes
      6m 0s
    8. How opposite blend modes work
      8m 24s
    9. Why Multiply darkens and Divide lightens
      5m 23s
    10. Cleaning up a client's bad art
      5m 3s
    11. Dropping out a white background
      5m 56s
    12. Blending inside blend modes
      8m 3s
    13. Overlay, Soft Light, and Hard Light
      6m 26s
    14. Vivid, Linear, and Pin Light (and Hard Mix)
      6m 35s
    15. Difference, Exclusion, Subtract, and Divide
      7m 34s
    16. Great uses for the Difference mode
      6m 18s
    17. Promising uses for the Divide mode
      9m 6s
    18. Hue, Saturation, Color, and Luminosity
      7m 0s
    19. Blending an inverted layer
      3m 32s
    20. The "Fill Opacity Eight"
      7m 25s
    21. Making bad blend modes good
      5m 16s
    22. Making a knockout layer
      6m 53s
    23. Blending in the CMYK mode
      8m 3s
    24. Overprinting black text
      8m 29s
    25. Using the Luminance slider
      5m 24s
    26. Parametric luminance masking
      6m 21s
    27. Adjusting the behavior of luminance effects
      10m 8s
  6. 2h 2m
    1. Smart Objects = protective containers
      1m 35s
    2. Placing an Illustrator graphic
      6m 30s
    3. Vector copy and paste options
      6m 56s
    4. Applying Puppet Warp to vectors
      8m 9s
    5. "Gluing" vector art for Puppet Warp
      5m 50s
    6. Warping art onto the surface of an image
      8m 7s
    7. Blending a Smart Object
      4m 30s
    8. Blurring and blending a Smart Object
      6m 8s
    9. Making changes in Illustrator
      5m 57s
    10. Creating "true clones"
      7m 18s
    11. Double-flipping text
      4m 44s
    12. Applying effects to multiple layers
      3m 24s
    13. Updating true clones in one operation
      7m 36s
    14. Editing JPEGs as Camera Raw objects
      5m 49s
    15. Creating a double-exposure effect
      7m 15s
    16. Masking and shading transitions
      7m 47s
    17. Applying and repeating Camera Raw edits
      6m 9s
    18. Copying vs. cloning a Smart Object
      5m 18s
    19. Flipping a Smart Object and its mask
      3m 42s
    20. Adjusting multiple Camera Raw clones
      3m 53s
    21. Text that inverts everything behind it
      5m 34s
  7. 1h 59m
    1. This time, "smart" means dynamic
      1m 37s
    2. Introducing Smart Filters
      6m 28s
    3. Traditional High Pass sharpening
      5m 17s
    4. Smart High Pass in the Lab mode
      7m 57s
    5. Sharpening a high-frequency image
      7m 46s
    6. Retroactively reducing noise
      7m 31s
    7. Which filters are Smart Filters?
      6m 20s
    8. Shadows/Highlights as a Smart Filter
      4m 37s
    9. Nesting one Smart Object inside another
      7m 11s
    10. Drawing a mask from a nested Smart Object
      8m 7s
    11. Better Shadows/Highlights inside Lab
      9m 16s
    12. Tempering saturation values in Lab
      7m 0s
    13. Filtering live, editable text
      9m 2s
    14. Enhancing filters with layer effects
      4m 33s
    15. Applying a filter multiple times
      5m 0s
    16. Creating a synthetic star field
      7m 7s
    17. Making a stucco or drywall pattern
      6m 28s
    18. Land, sea, and clouds
      8m 30s
  8. 2h 50m
    1. Photoshop's advanced painting tools
      2m 3s
    2. Canvas texture and brush libraries
      6m 40s
    3. Painting with a predefined custom brush
      9m 21s
    4. Dissecting a custom brush
      11m 9s
    5. Designing and using a custom brush
      4m 54s
    6. Saving and loading brush presets
      5m 27s
    7. The ten styles of bristle brushes
      9m 47s
    8. Size, Spacing, and Angle
      7m 2s
    9. Using the Bristle Brush preview
      7m 53s
    10. Bristles, Length, Thickness, and Stiffness
      6m 53s
    11. Stylus tilt and mouse behavior
      5m 25s
    12. Stroking a path outline with a brush
      4m 0s
    13. Troubleshooting a stylus
      5m 49s
    14. Introducing the Mixer Brush
      7m 22s
    15. The Load, Mix, and Wet values
      5m 1s
    16. Cleaning and loading a brush
      6m 26s
    17. Shading a piece of graphic art
      6m 34s
    18. Shading with color
      7m 53s
    19. Mixing a photographic portrait
      6m 11s
    20. Tracing the fine details in an image
      5m 52s
    21. Crosshatching and brush size
      5m 53s
    22. Covering up and augmenting details
      7m 36s
    23. Painting in hair and fabric
      5m 54s
    24. Painting and scaling very fine hairs
      8m 7s
    25. Adding texture with the Emboss filter
      8m 31s
    26. Exploiting a "happy accident"
      2m 46s
  9. 1h 40m
    1. Artificial intelligence that works
      1m 22s
    2. The Auto-Align Layers command
      7m 25s
    3. The Auto-Blend Layers command
      3m 54s
    4. Masking auto-aligned layers
      4m 50s
    5. The Geometric Distortion setting
      6m 44s
    6. The Seamless Tones and Colors checkbox
      4m 8s
    7. Creating the best possible layer mask
      9m 18s
    8. Auto-blending depths of field
      5m 54s
    9. Finessing masks, accepting imperfections
      6m 29s
    10. Shooting and downsampling panorama images
      5m 54s
    11. Introducing the Photomerge command
      6m 40s
    12. Evaluating the Layout settings
      6m 47s
    13. Loading, aligning, and blending with Photomerge
      5m 36s
    14. Tracing and extracting seams
      7m 18s
    15. Adding a masked element into a panorama
      5m 55s
    16. Simplifying and correcting a panorama
      5m 58s
    17. Smart Filters and nondestructive cropping
      6m 43s
  10. 1h 18m
    1. The most mysterious of mysterious topics
      2m 29s
    2. Introducing HDR Toning
      6m 43s
    3. Reigning in clipped highlights
      5m 54s
    4. The Local Adaptation options
      9m 5s
    5. Nondestructive editing with HDR Toning
      8m 22s
    6. Using the HDR Toning Curve
      7m 2s
    7. HDR Toning vs. Shadows/Highlights
      6m 0s
    8. Merging multiple exposures
      7m 14s
    9. A first look at HDR Pro
      6m 24s
    10. Removing ghosts, correcting backlighting
      7m 11s
    11. Generating and editing an HDR comp
      7m 0s
    12. HDR rendered to completion
      5m 19s
  11. 1h 27m
    1. Processing hundreds of files in no time
      1m 43s
    2. Creating an action set
      6m 37s
    3. Making an action
      7m 7s
    4. Stop, Delete, and Record
      7m 12s
    5. Add, Undo, and Rerecord
      6m 40s
    6. Playing and testing an action
      6m 31s
    7. Playing and editing a specific operation
      6m 39s
    8. Permitting the user to change settings
      4m 58s
    9. Explaining an action with a custom stop
      5m 0s
    10. Batch-processing multiple images
      7m 22s
    11. Adding a Save As operation
      6m 34s
    12. Creating an action to save web graphics
      7m 59s
    13. Batching two actions into one
      7m 15s
    14. Saving and loading actions
      5m 30s
  12. 1m 19s
    1. See ya
      1m 19s

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